By Ray Pride Pride@moviecitynews.com

OSCILLOSCOPE IS HOT FOR A TEACHER

 

Sundance Favorite Scheduled For Release This Year

 

(New York, NY) February 13, 2013—Oscilloscope Laboratories announced today that it has acquired North American rights to Hannah Fidell’s feature directorial debut A TEACHER.  The film premiered last month to critical and audience acclaim at the Sundance Film Festival and is headed to Austin next month where it will play South By Southwest.  O-Scope plans a theatrical, video-on-demand and digital release later this year.

Part psychological thriller and part provocative character study, A TEACHER explores the unraveling of a young high school teacher, Diana (Lindsay Burdge), after she begins an affair with one of her teenage students, Eric (Will Brittain).  What starts as a seemingly innocent fling becomes increasingly complex—and dangerous—as the beautiful and confident Diana gets fully consumed by her emotions, crossing boundaries and acting out in progressively startling ways. Lindsay Burdge delivers a deeply compelling and seamlessly naturalistic performance that brings us into the mind of an adult driven to taboo against her better judgment.

O-Scope’s David Laub and Dan Berger said, “A TEACHER is a remarkably assured debut, and demonstrates two immense new talents, one in front of and one behind the camera. We couldn’t be more excited to welcome the film into O-Scope’s ranks and present it to the world.”

Hannah Fidell said, “We’re so thrilled to be joining the Oscilloscope family.  Their films represent everything we love about cinema and we are honored A TEACHER has found such an ideal home.”

A TEACHER was produced by Kim Sherman and Hannah Fidell.

The deal was negotiated by David Laub and Dan Berger for Oscilloscope with ICM Partners on behalf of the filmmakers.  ICM Partners also represents Hannah Fidell and Lindsay Burdge.

 

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About Oscilloscope Laboratories:

 

Oscilloscope Laboratories is a film production and theatrical distribution entity launched in 2008 by Adam Yauch of Beastie Boys. Yauch modeled the company after the indie record labels he grew up around, choosing films and then releasing them with the same artistic integrity with which they were made.  The company, which is an extension of Yauch’s recording studio of the same name, has an in-house DVD distribution and production arm, and its paper packaging is reminiscent of the heyday of LP record jackets. All of the company’s plastic-free DVD packaging is printed on FSC Certified 80% post-consumer waste paper and produced in a carbon-neutral hydroelectric plant.  Previous and current releases include Lynne Ramsay’s Golden Globe® Nominated WE NEED TO TALK ABOUT KEVIN starring Tilda Swinton, John C. Reilly, and Ezra Miller; Marshall Curry’s Oscar-nominated documentary IF A TREE FALLS: A STORY OF THE EARTH LIBERATION FRONT; Oren Moverman’s Oscar-nominated THE MESSENGER starring Ben Foster, Woody Harrelson and Samantha Morton; Kelly Reichardt’s MEEK’S CUTOFF starring Michelle Williams; Evan Glodell’s Sundance hit BELLFLOWER; Kelly Reichardt’s WENDY & LUCY starring Michelle Williams; Anders Østergaard’s Oscar-nominated documentary BURMA VJ; Kurt Keunne’s acclaimed documentary DEAR ZACHARY; Bradley Rust Gray’s THE EXPLODING GIRL starring Zoe Kazan; Scott Hamilton Kennedy’s Oscar-nominated documentary THE GARDEN; Dylan Southern and Will Lovelace’s LCD Soundsystem documentary SHUT UP AND PLAY THE HITS; Ron Fricke and Mark Magidson’s SAMSARA; Andrea Arnold’s WUTHERING HEIGHTS, Matt Ross’s 28 HOTEL ROOMS, and the acclaimed documentaries TCHOUPITOULAS by Bill and Turner Ross and ONLY THE YOUNG by Jason Tippet and Elizabeth Mims.  Upcoming releases include Keith Miller’s Slamdance Grand Prize Winner WELCOME TO PINE HILL, Matteo Garrone’s Cannes Grand Prix-winner REALITY, Todd Berger’s IT’S A DISASTER, starring David Cross, Julia Stiles, and America Ferrara; Rowan Athale’s WASTELAND, Andrew Dosunmu’s MOTHER OF GEORGE, and Omar Mullick and Bassam Tariq’s THESE BIRDS WALK.

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MB Cool. I was really interested in the aerial photography from Enter the Void and how one could understand that conceptually as a POV, while in fact it’s more of an objective view of the city where the story takes place. So it’s an objective and subjective camera at the same time. I know that you’re interested in Kubrick. We’ve talked about that in the past because it’s something that you and I have in common—

GN You’re obsessed with Kubrick, too.

MB Does he still occupy your mind or was he more of an early influence?

GN He was more of an early influence. Kubrick has been my idol my whole life, my own “god.” I was six or seven years old when I saw 2001: A Space Odyssey, and I never felt such cinematic ecstasy. Maybe that’s what brought me to direct movies, to try to compete with that “wizard of Oz” behind the film. So then, years later, I tried to do something in that direction, like many other directors tried to do their own, you know, homage or remake or parody or whatever of 2001. I don’t know if you ever had that movie in mind for your own projects. But in my case, I don’t think about 2001 anymore now. That film was my first “trip” ever. And then I tried my best to reproduce on screen what some drug trips are like. But it’s very hard. For sure, moving images are a better medium than words, but it’s still very far from the real experience. I read that Kubrick said about Lynch’s Eraserhead, that he wished he had made that movie because it was the film he had seen that came closest to the language of nightmares.

Matthew Barney and Gaspar Noé

A Haunted House 2 is not a movie. It is a nervous breakdown. Directed by Michael Tiddes but largely the handiwork of star, producer, and co-writer Marlon Wayans, the film is being billed as yet another Wayans-ized spoof of the horror movie genre, à la the first Haunted House movie and the wildly successful Scary Movie series. (Keenen Ivory Wayans and his brothers were responsible for the first two Scary Movie films; they have since left that franchise, which may explain why a new one was needed.) And there are some familiar digs at recent horror flicks: This time, the creepy doll and the closet from The Conjuring, the family-murdering demon from Sinister, and the dybbuk box from The Possession all make appearances. But this new film is mostly an excuse for star Marlon Wayans to have extended freak-outs in response to the horrors visited upon him—shrieking, screaming, crying, cowering, and occasionally hate-fucking for minutes on end. Yes, you read that last bit right. A Haunted House 2 puts the satyriasis back in satire.”
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